The Thinking Hand Exploration Essay

From reading Juhani Pallasmaa’s The Thinking Hand: Existential and Embodied Wisdom in Architecture, it brings out the importance of the human hand and its relation to artistic work. Primarily, it begins with the idea of the human hand as being its own unique individual and is the basis to the evolution of human intelligence.[1] In extension, the tools that the hands of the person uses alter the natural power they have. It also means that they must work with the materials and collaborate with them because the materials consists of different possibilities and limits and the work created from the material shouldn’t be meaningless.[2] Though due to the materials and tools used, the creator is at risk when they decide to move forward without any mental certainty with what to expect for the outcome of the work. This can be related to safety, its durability, the appearance and sometimes may minimize the experience during the exploration of the work. From this, the creator must find perfection to performing with working with the material and can be learned through sight, action and thought because they become unified as one system and thus reacts and responds as one.[3] It later on elaborates on how the creative thinking comes from unexpected and uncertainty of insight. It also implies that it is an existed understanding and lived experience that brings the perception, memory and desire of a person.[4] This lived experience is also connected to the world we live in because we see that it is truly created from a person’s artistic thought rather than the scientific ideas that are believed to be the basis of the development.[5] Therefore, the art form of architecture revolves around the feelings and sensations of the architect, and the work they create comes from emotions and predicts the sight and thought of things that will be created. [6] Overall, the architect must feel compassionate for human destiny and be able to imagine situations in life because this is the support and structure for the art that they will be creating.[7]

In relation to the themed exploration that I’ve done, I’ve found that the extension of a tool and understanding the risks from the reading are related to what I’ve discovered. I’ve found that looking for a way to collaborate and work with the tools you’re using is an important aspect to think about when creating a certain piece. If a person does not find the control of the tool or material, then it leads to them at risks of safety because they will not know what unexpected dangerous will come. It also means that the durability of the work may not withstand its new structure because of the change in form and appearance. This especially relates to when I was creating the reconstruction of a wall piece by Vhils because I’ve come to an understanding that without the understanding of the tools and materials I was working with, I had to face the consequences for the work I had attempted to recreate which I’ve found to have unsuccessful results but a successful lesson learned. Architectural, this relates because I felt emotional when I didn’t understand why the tools and materials weren’t uniting with my expectations and became much more destructive than expected. In addition, I was able to see this during my themed models based off of Vhils’ common theme of destruction when I tried to find the control to breaking glass. With this exploration, I was able to find the levels of different techniques to use when attempting to break glass. Through the attempts that I’ve experienced, frustration and patience, resulted to me being satisfied with what outcome I’ve drawn too. I was able to find the control and represent exactly what I had wanted to show which was controlling destruction since I was able to find the unification between my hand with the tools and materials. This can relate to how old ruins and abandoned areas may be like because the emotions that comes from the decaying aspects may also relate to how the creator or architect of these areas may feel seeing how their creations have come to be demolished or broken down. This is an interesting analysis because many of these architects of certain spaces expect their creations to last a certain amount of time or withstand certain aspects that may affect their space, and seeing that they weren’t able to defend against these or even continue to be used as a space by people. This then reflects on architects being compassionate about human destiny because if they don’t show an interest in this, it then puts their work at an automatic end because it isn’t fulfilling future purposes for human uses. In the end, the question of why something has come to its destructive end and if it still has a benefit towards the environment and beings, are always a mysterious thought to think about when considering a space and its current form and what it may come out to be in the future.

Overall, I’ve learned that the work of the human hand is much more thought about aspect to structures and forms. It bridges the connection between the human mind and the physical objects existing today. It becomes an extension of the creator and thus bringing in their own mental imagine into the world. This was also seen when I was going through my exploration because I was able to understand what my hand was capable of communicating and expressing my own ideas. They were capable of underlying what messages I wanted to incorporate in my work and still further the exploration of the theme that I had decided to cover. Overall the hand has an wide range of possibilities that a person is capable of

[1] Juhani Pallasmaa, The Thinking Hand: Existential and Embodied Wisdom in Architecture (Chichester, U.K.: Willey 2010), Chapter 1.

[2] ibid, Chapter 2.

[3] ibid, Chapter 3.

[4] ibid, Chapter 5.

[5] ibid, Chapter 6.

[6] ibid, Chapter 7.

[7] ibid, Chapter 8.

Reconstruction: Viva La Revolucion piece

  Reconstruction: Viva La Revolucion pieceTheme model: Glass bottle

Theme model: Glass bottle